For years, Marcellvs L. has been filming moments he has confronted by chance, always with a fixed camera, hand-held, or using rapidly invented places to stand or attachments. The shots last for as long as the situation itself, or as long as the technical conditions allow. The film material is then manipulated to a very small extent, with the emphasis on the sound, which the artist – often working with the Brazilian group pexbaA – alters or replaces by playing different sound in. The three films in the Mercedes-Benz Art Collection are excellent examples of this extreme minimalization of content and form.
In the video 0667 viewers see a person at the end of a country road, shimmering in the light and disappearing on the horizon. The person appears first of all as a small dot moving in the distance, focusing concentration as he slowly but inexorably approaches. Three contrasting rhythms develop from the depths of the picture space: the more rapid rhythm of the approaching cars on the dusty carriageway, as opposed to the walking man’s ‘pace by pace’, backed by the static nature of the undefined natural space, with only the wind providing movement.
Marcellvs L
0667, 2003
